Tag Archives: Law & Order

Shout! Factory will release the seventh season of ABC’s former hit crime drama NYPD: Blue next Tuesday, September 30th. The series’ complete seventh season is one more example of just why it remained so popular for so many years. Regardless of whether one is new to the series or is more familiar with it, all audiences will agree in watching these episodes that the main reason it remained so popular in its seventh season is its writing. Unlike Dick Wolf’s now mostly defunct Law & Order franchise, the writers behind NYPD: Blue continued to craft wholly original stories that didn’t have to be “ripped from the headlines.” At the same time, the series’ writers managed to balance that with continued focus on character development and storylines within the department. And in this season, there are most definitely some interesting developments among the show’s characters. The ability of the show’s writers to balance these aspects so expertly is key to its continued success in its seventh season. Just as important to the series’ success in its seventh season is its trademark look. Even years after it started, audiences will see that it still maintained a certain gritty look that helped to set it apart from its counterpart over on NBC. Where the season’s writing left off, that look picked up and continued to make suspension of disbelief even easier and in turn the show’s enjoyment all the greater. The series’ writing and its look both play pivotal roles in the success of NYPD: Blue’s seventh season. Last but hardly least worth noting is the show’s camera work. That, too is something that had been established early on in the series’ run. And much like the writing and look of the series, it too continued to set the series apart from the likes of Law & Order and other crime dramas. All these factors taken into consideration, NYPD: Blue’s seventh season is one more must have for any fan of this modern classic crime drama.

The seventh season of NYPD: Blue has what proves to be some of the best writing that the series had seen up to this point. That writing is the core of what makes NYPD Blue just as successful at this point as when the series kicked off so many years ago. The stories presented throughout the series’ seventh season continued to separate NYPD: Blue apart from its crime drama counterpart on NBC as it didn’t use stories “ripped right from the headlines.” Rather the stories continued to be wholly original. Ironically enough, as original as the stories prove to be, the fact that they weren’t just adapted from actual headlines makes them all the more believable. Case in point is the season premiere episode, “Loogie Nights.” This episode sees Sipowicz and Sorenson handling a case of a fatal police beating. Considering recent headlines and the focus today on criminal cops, it’s proof positive as to why the series’ writers didn’t need to take stories from the news and adapt them for their “own” works. There is also a case of a young woman being gang-raped in another episode. And a close examination of this season also reveals that while the series’ writers continued to craft wholly original and gripping stories in each episode, it also reflected the real world as there seemed to be more focus on and acceptance of the gay community throughout this season. That is just this critic’s thought. But it seems to be more prevalent than in previous seasons of the series. That in itself is a starting point in another discussion, proving once more just how important the writing is to this series.

The work put into the episodes that make up Season Seven is by itself a major reason for the show’s continued success. The stories themselves though are just part of what makes the writing work so well. Audiences that are familiar with this series see even more development among the characters both by themselves and within their daily interactions. Audiences will especially enjoy seeing Sipowicz’s personal growth as a father and a person after his wife’s death in the series’ sixth season. He hasn’t lost any of his edge while on the job. But while spending time with his son, he exhibits so much humanity. He encourages his son and actually acts like a father should. It’s enough to make even the hardest person smile and tear up. Sipowicz’s personal relationship with Sorenson matures, too. While their working relationship continues to appear as dysfunctional as ever, those that know Sipowicz’s history and personality know that things have actually gotten between the two detectives. Even more impressive about this is that the writers didn’t let either of these character development factors overtake the rest of the show. They balanced the character developments expertly with the stories with the end result being another group of stories that by themselves prove once more why the writing by itself makes Season Seven well NYPD: Blue’s best season yet.

The work of the writers behind NYPD: Blue shows exactly why this crime drama remained a hit among viewers even well into its seventh season. Their work was just part of why the series continued to be so successful seven seasons in. The work of those responsible for the show’s look deserve their own applause, too in this season. The gritty, more realistic look of NYPD: Blue established early on in the series’ run is maintained even here in its seventh season. Much like the show’s writing, that look helped to maintain the series’ separate identity from the other crime dramas that were on television at the time; more specifically from NBC’s Law & Order franchise. It’s one more element that continued to help maintain suspension of disbelief, and in turn, enjoyment of the series. It’s one more way in which the series continued to shine even in its seventh season.

The writing behind Season Seven’s episodes goes a long way toward making this season another hit for the series’ fans. The continued realistic, gritty look and feel of the show also helps in its own way. Last but not least of all is the series’ camera work. To some, camera work is something minor. But those that are more production minded will take note of the show’s short, fast paced shots throughout each episode. Again, this is something that other crime dramas on TV at the time were not doing. Such use of the cameras helped to heighten the tension within each episode. It also helped with the scene transitions, too. Those scene transitions set NYPD: Blue apart from its counterparts just as much as the series writing and its look. The fact that the series’ heads and those behind the cameras maintained this aspect of the series, too only serves to make Season Seven all the richer and more enjoyable for audiences. Together with the noted writing and gritty look, it makes Season Seven just as much of a must have for fans of the show as the show’s previous full season sets.

The camera work incorporated into the seventh season of NYPD: Blue is one aspect of the show that had been there from the series’ first season. It’s nice to see this element of the show maintained so far into the show’s run. The same can be said of the show’s gritty look. The two elements, along with the wholly original stories and character development come together in this season to make it another collection that any fan of the series will welcome in their collections just as much as the series’ previous season sets. NYPD: Blue Season Seven will be available next Tuesday, September 30th on DVD. It can be ordered online via Shout! Factory’s online store at https://www.shoutfactory.com/tv/crime/nypd-blue-season-seven. More information on this and other releases from Shout! Factory is available online at:

Shout! Factory released the sixth season of ABC’s crime drama NYPD Blue today. NYPD Blue was one of the most polarizing series on television over the course of its run on ABC from beginning to end. The series’ sixth season is no less powerful than the seasons that had come before. That’s not only because of the drama surrounding the cases in each episode, either. The writing has shown a different side of the characters this season, especially in one particular story arc. And that growth in the series’ writing is just part of what makes Season Six enjoyable for the show’s fans. The acting on the part of the series’ cast ties directly in to the writing. The cast expertly interprets the scripts for each episode, adding even more depth to the series this time out. The acting and writing that bring Season Six together are of equal importance to its success. On another level, the show’s overall production values—its gritty look, its cinematography, and music—round out the whole package, making NYPD Blue: Season Six another win for fans of this landmark series and for Shout! Factory.

One of the major reasons that NYPD Blue managed to remain on the air for so long was its writing staff. While Dick Wolf’s Law & Order franchises relied largely on the headlines for storylines, the storylines that ran through NYPD Blue were far more hard hitting. They showed that it was possible to craft a solid story without just re-enacting the weekly news headlines. And that expert writing continued well into this season. The season-opening story arc is proof positive of this. Season Six opens with Simone (Jimmy Smitts) ending up in the hospital due to a heart problem. It is that heart problem that eventually leads to a very difficult decision for his wife and to a very deep reaction from Sipowicz along the way. It’s definitely one of the series’ most moving and powerful story arcs as it shows that Sipowicz is human after all. Add in the discussion on the right-to-life and audiences get what is simply put a very powerful story arc; one of the best that the series had seen to date. This is just one example of the talents of the series’ writers this season. There are equally deep stories included in this season such as racism within the police force, and even the announcement of a new life coming into the world among much more. Audiences, again, will find out all of this for themselves when they purchase Season Six. Every story written for Season Six is proof of why this series was able to continue as a fan favorite for six more seasons after this one.

The writing that went into making NYPD Blue: Season Six was some of the best for any drama on television at its time. Just as key to this season’s success was the acting on the part of the cast. Dennis Franz’s acting in the season-opening story ac is some of the most powerful that any of the cast members had presented to that point. Franz presented a far more vulnerable and human side to Sipowicz as Sipwicz tried to maintain his hard-nosed façade, albeit unsuccessfully. It was, in an odd way, heart wrenching to see Sipowicz break down. Yet it was moving to see that he had that side. It makes him an even deeper character. The reaction of all of Bobby’s fellow officers was just as moving. It showed that for everything that they had to deal with, even the strongest people have to mourn. Anyone left dry-eyed after seeing this simply isn’t human. Of course, there were also the reactions in the much happier announcement in the season of a new life coming into the world late in this season. After everything that the force had dealt with since the season’s opener, the acting here proved to be just as powerful and moving. Those moments all together made Season Six all the more worth watching by any of the series’ original fans.

The writing and acting that went into bringing NYPD Blue: Season Six to life exhibited exactly why the series was still so successful this far into its run. One would be remiss to ignore one more factor that made Season Six a success. That final factor would be the show’s production values. The collective production values—its cinematography, music, and its overall gritty look—set the series apart from Dick Wolf’s Law & Order franchises from early on. The rapid fire camera work, the original music and gritty look were the antithesis of Wolf’s series. Those series always had more of a spit-shined look. Their music and the use of cameras gave those series too perfect of a look. By comparison, the collective production values used even in the sixth season of NYPD Blue made watching the series like seeing the late Robert B. Parker’s novels on television, just without Jessie Stone as the lead. That is truly something special. It really feels like a hard-boiled detective novel put to the small screen. And together with the writing and acting, it makes NYPD Blue: Season Six a completely welcome addition to the library of any fan of this series.

Crime dramas are all the rage on American television. Each one of the “Big 4” has more than its fair share of gritty crime dramas. Even the cable networks are becoming overloaded with their own crime dramas. Even PBS has its own crime drama series in the forms of Endeavour and the newly resurrected series Inspector Lewis. Considering all of this, it goes without saying that fans of the crime drama genre have more than their share of shows from which to choose. The problem is that save for perhaps PBS’ Inspector Lewis and Endeavour, the majority of the crime dramas that fill the broadcast spectrum today are relatively formulaic. Now thankfully, eOne has offered American audiences a series unlike any other crime drama out there today, including those on PBS. And that is saying something. The series in question is Broadchurch. The series’ first season is available now on DVD. And this debut season of the British import is nothing short of spectacular. Yes, it is a serial. But the show’s writing more than makes up for that. That’s just the beginning of what makes this first season a hit. The use of original music at the right moments will keep viewers’ just as much on the edge of their seats from episode to episode. The same can be said of the acting on the part of the cast. This includes not just lead actors David Tennant (Dr. Who) and Olivia Colman (The Iron Lady, Hot Fuzz, Locke), but to the cast in whole. Their acting, along with the wisely used music and even smarter writing together make Broadchurch: The Complete First Season a truly surprising first impression from this British import. And it gives quite a bit of hope for the series in its second season. Audiences that give this season a chance will largely agree with that sentiment when they purchase or order the box set for themselves.

Broadchurch is not the first imported drama or even crime drama to make its way to America’s shores. The series, as a matter of fact, has been adapted for broadcast on the Fox network this fall. Before audiences even begin to watch that Americanized ripoff, they would do well to check out Season One of Broadchurch if only for the show’s writing. That is the most important factor to the success of this season. Any viewer that is the parent of a small child will agree that this season’s story hits hard because of its reality. It’s a sad reality that children die in this country (and other nations) every single day at the hands of rather sick individuals. That reality gives so much depth and believability to this season’s story. Fair warning, it’s difficult to watch and will make any parent want to hold their child even closer by the season’s final minutes. Even more so, any viewer that is left dry-eyed after watching this season’s story simply isn’t human. Even this critic will admit to tearing up quite a bit by that time.

The emotional depth and believability of the writing is just the starting point of what makes the first season of Broadchurch such a surprise of a series. Audiences will appreciate just as much the twists and turns that are included over the course of this season. They are just enough that they will keep viewers watching on the proverbial edge of their seats right to the season’s end. The twists don’t just include the characters, either. There are minute details on which the camera focuses at random points that keep viewers thrown off the track right up to the shocking season finale. The finale won’t be given away for the sake of those that have yet to see Season One. But it is most definitely unexpected, though sadly very much a reflection of life. To that extent, it makes this season’s story all the more gripping and worth the watch.

On an even deeper level, the writers responsible for bringing Broadchurch to life are to be applauded for the manner in which the series’ first season was constructed. Rather than have eight separate episodes, the writers used the model from Fox’s 24 in establishing each episode. Whereas each episode of 24 is one hour, each episode of Broadchurch’s first season is a continuation of the previous episode. So, all eight episodes of this season comprise just one storyline. And each episode has been written so well (unlike 24), that audiences won’t be left feeling like they need a program to figure out what’s going on. It’s the final touch to the series’ writing that makes the writing the cornerstone of this first season.

The writers behind Broadchurch are to be highly commended for the painstaking efforts put into making this series’ first season the gripping first impression that it proves to be in the end. Just as worthy of applause in Season One are those responsible for the show’s music. Yes, the music in this series plays just as important a role in its success as the writing. This is hardly common in most American television series. Audiences will note in the series’ first season that unlike so many other shows out there, it doesn’t rely on popular songs or music put in just to be there. The music incorporated in Broadchurch: Season One plays directly in to the series’ writing. The smart use of dynamics and overall placement from scene to scene within each episode heightens each episode’s emotional depth. Whether it be the season’s more pained moments as when Danny’s mother saw him lying dead on the beach, or even the more tense moments of the search for the killer, those charged with music placement went above and beyond the call of duty. It’s one more factor that makes the debut season of this gripping British crime drama worlds better than its countless American counterparts.

The music and the writing behind the first season of Broadchurch are by themselves integral parts of the season’s overall success. Together they make Broadchurch a fully gripping and engrossing series in only its first season. There is still one more aspect of this first season that proves Broadchurch to be the standard by which so many other dramas should model themselves. That final factor is the acting on the part of the cast. That applies not just to lead actors David Tennant and Olivia Colman but to the entire cast. Each member of the show’s cast expertly interprets the show’s script, making it even more difficult to figure out who is the killer until said person is revealed in the season finale. On the other hand that expert acting also pulls in viewers on a deeply emotional level, too. That expert acting on both sides of the coin adds one more level of depth, thus making this season of Broadchurch even more gripping. That final factor, set alongside the season’s writing and music, makes the presentation whole and wholly of the best first impressions from any new series in recent history. It makes the first season of Broadchurch one that any fan of dramas must see at least once this year.

Good books are easy to find. Truly good books are far more difficult to find. That’s especially the case considering the number of DIY books, political mudslingers and otherwise forgettable literary works that populate book stores today. Next Tuesday, one of those rare truly good books will see the light of day when author Greg Iles’ new book Natchez Burning will be released. Iles’ latest book and his first in five years, Natchez Burning is not the shortest of books. It comes in at an astonishing 788 pages. That’s not counting the book’s postscript. That’s just the story itself. It is a long story. But it is a story that audiences will enjoy regardless of their familiarity with Iles’ body of work. The story contained within the pages of this book is the crux of the book. It centers on former prosecutor turned mayor of Natchez, Mississippi Penn Cage. Readers that are familiar with Iles’ books will recognize Cage’s name as he has been the subject of previous books penned by Iles. Iles’ writing is another reason that readers will enjoy reading this book. This encompasses the story’s pacing, transitions and other related aspects. Both elements work hand-in-hand to make Iles’ first book in five years quite the welcome return. It is Iles at the top of his game.

Natchez Burning is the first book from Greg Iles in five years. The main reason for that is that he had been involved in a terrible auto accident so long ago. His fans had no idea if he would ever write another book as his injuries were so extensive. Fans will agree in reading his book that as lengthy as it is, Iles did not lose a single step. If anything maybe it was a blessing in disguise. That’s because this book presents Iles at the top of his game. The first way that it shows this is through the story itself. Iles’ story is one that has been done before countless times by countless other storytellers. There’s no getting around that. The whole plot centers around the story of a man forced to face a dark family secret when his father is accused of a brutal decades old crime. It forces the man, Penn Cage (who is also the subject of previous books by Iles) to decide between family loyalty and the truth. What sets Iles’ story apart from that told by those that have told similar stories before him is the execution of his story. His story is more believable than so many others because it is grounded in reality without being unnecessarily gritty and dark. That’s because he uses real events. He highlights in the story’s opening sequence, the horrendous acts that were committed against the black community in the civil rights era. And the concept of group of hard liners breaking off from an extremist group to make its own even more hardcore extremist group is just as believable. These aren’t the only believable elements of the story. They are but a small sample of how much Iles gets right throughout the course of his new story. Fans of Dick Wolf’s beloved Law & Order franchises or fellow author John Grisham’s books will most definitely appreciate the book especially for this reason.

Iles gets plenty right throughout the course of his story. Within the context of the story, the pacing and transitions are used expertly. This may seem to some like a minor matter. But there are authors out there who struggle to get both of these story elements in balance with one another even today. That greatly detracts from the suspension of disbelief. The end result is the ever increasing urge to simply close said authors’ books. Iles on the other hand uses his pacing to make his story the proverbial edge-of-your-seat story even from what turns out to be the story’s flashback opening sequence. As the story progresses, Iles gives readers clear, concise transition points from one scene to the next, making it easier to follow the story. This helps to heighten the story’s tension and in turn keep readers fully engaged from beginning to end, regardless of how long it might take one reader or another to finish the book. It’s all done so well that readers can see each scene play out in their minds just as vividly as if it were on the big screen. Who knows, with any luck, it may find itself begin adapted for the big screen.

The overall writing style that Iles used throughout the course of Natchez Burning is just as important to the overall enjoyment of the book as the story itself. Every part of the writing that went into making Natchez Burning work did its part to make the story as a whole more than deserving of its applause. Together with Iles’ execution of the story, the two factors together make up for the book’s extensive length. As a matter of fact, both factors together make Natchez Burning a book that readers won’t want to put down. Iles has succeeded that strongly in his return. Simply put, Greg Iles’ new book proves to be one of the first must read pieces of the year.

NYPD Blue was one of the biggest and most talked about crime dramas on television over the course of its twelve years on ABC. The reason for that is that in comparison to the likes of Dick Wolf’s Law & Order franchises and CBS’ CSI series, it was far grittier than any of those programs. One could easily argue that the success of NYPD Blue is to thank for FX’s The Shield rising to fame. Of course, that series was itself based on a British series from the 1970s known as The Sweeney. So it goes without saying that NYPD Blue was a groundbreaking series for its time. And now thanks to Shout! Factory, the fifth season of the hit crime drama is now available in its entirety on DVD box set. NYPD Blue Season Five is one of the favorites of fans everywhere. That’s because it really exhibited the talent of the show’s writers at their peak. The writing is just the starting point for the success of Season 5. While it’s somewhat minor, audiences will agree that Season Five maintains the show’s image totally separate from the other crime dramas on television. That will be explained later. Just as much worth noting is the show’s music. The music goes right along with the show’s image. It wasn’t that perfect spit-shined sound that all of the other crime dramas used (and still use today). These factors and so many more make NYPD Blue Season Five a fantastic trip down memory lane for any true fan of what was and still is one of ABC’s most revered series.

The fifth season of NYPD Blue stands out as one of the series’ best to date. It is such an exceptional season first and foremost because of its writers. The writers proved yet again with Season Five their ability to tell multiple stories without letting them get bogged down in each other. This is something that still remains problematic for so many crime dramas today. It was especially the case for the CSI franchise for many years. The show’s writers relied more on sex appeal to try and cover up the fact that their stories were relatively shallow and had a tendency to get caught in themselves. Just as much to the credit of NYPD Blue’s writers, their stories had substance. Sure, there was some sex appeal. But it largely took a back seat to the storylines that leave audiences on the edge of their seats right up to the end without audiences even realizing it. A prime example of this was the season opener, “This Bud’s For You.” This episode finishes off the cliffhanger that was started in Season Four’s finale. The Joey Salvo homicide is finally figured out. And in the process, audiences see some personal character development among the cast. There’s more than enough drama to go around. But none of it overpowers any other part of the episode. That is a true sign of a well-written show. And audiences will see that, again, throughout Season Five. It’s just the starting point of this season’s success, too.

The writing behind NYPD Blue in its fifth season is the primary reason for the show’s success thus far into its run. Another reason for the show’s success five seasons in is the show’s image. When put alongside its competition, NYPD Blue didn’t have the spit shined and streamlined look of perhaps a CSI or even any of the Law & Order series across the NBC family of networks at the time. Those that are familiar with Dick Wolf’s varied series will agree with that argument. The series in question attempted for years to have a certain grit and realism about them. But they could never escape the more standard look established by Wolf’s company. Even today, Law & Order: SVU still suffers from that issue. For lack of better wording, it’s almost as if Wolf’s series always held back. NYPD Blue on the other hand took the road less travelled even five seasons in. It wasn’t afraid to show a meaner, tougher side of police work. Both then and now, few if any shows try their hand at such realism. It continues to stand today as a tribute to the show’s ability to stand out in the crowd, even today. Audiences will agree when they check out Season Five for themselves.

The writing and the look of NYPD Blue in its fifth season are both important elements in the show’s success. There is still one more aspect of the series that while minor stands out among crime dramas of its time. And it is related directly to the show’s image. That aspect is the show’s soundtrack. Again, one has to note NYPD Blue’s competition at the time to understand why it is in fact so important. The CSI’s, Without A Traces, and so many others had a specific soundtrack to go along with their relatively spit shined looks. NYPD Blue on the other hand, had a more generic soundtrack. The show’s writers and creative forces used a soundtrack of music that one might hear on an inner city street, instead of paying royalty fees for a set of catchy tunes or just having a general marketable sound. It helped even five seasons into its run, to prove how pretentious those other crime drams really were. On the same branch, it showed once more how hard the show’s writers and creative heads tried to make NYPD Blue stand out. It did just that. And set alongside the show’s look and feel, and its writing, it is one more piece proving why even years after its initial run, NYPD Blue’s fifth season remains one of the show’s best. It is available now on DVD and can be ordered online direct from the Shout! Factory store at http://www.shoutfactory.com/product/nypd-blue-season-five. More information on this and other releases from Shout! Factory is available online at http://www.shoutfactory.com and http://www.facebook.com/shoutfactoryofficial. To keep up with the latest sports and entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest sports and entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

PBS has proven time and again throughout 2013 why it is such an important addition to any family’s viewing schedule each day. The network offers so much enjoyable programming for viewers of every age. That includes its imports of itv’s recently ended series, Inspector Lewis and its new replacement, Endeavour. Endeavour brings itv’s whole story started with its hit Inspector Morse series full circle as it brings viewers the story of how the famed detective got his start. Television today is overly rife with crime dramas across the Big 4 and even across the cable spectrum. That raises the question of what makes Endeavour stand out. Endeavour stands out first and foremost because of its writing. Tied directly in to the show’s writing is the overall lack of overt sex and violence. In connection to both of the aforementioned factors of the show’s success is the acting on the part of the cast. All three of these factors together make Endeavour stand out among the endless masses of crime dramas that currently pollute American television.

Writing is everything in any movie and television show. Far too few people pay attention to writing as the source of a movie or television show’s success or failure. In the case of itv’s Endeavour, the writing behind the show’s first five episodes is an example of writing done right for a crime drama. Much as was the case with the two series the preceded this prequel to the Inspector Morse series, the writing behind this show will keep any viewer guessing all the way to each episode’s end. There are just enough twists, turns, and red herrings to keep viewers engaged despite the roughly ninety-minute run time of each episode. The crimes in each episode aren’t all that viewers will appreciate from this new series. One of best examples of those twists and turns is the episode, “Fugue.” Anyone that remembers the 1999 movie, The Bone Collector or the movie that inspired it, 1935’s The Raven (which itself was remade in 2012 with John Cusack in the starring role) will see the obvious influence of both movies in this episode. It’s definitely one of the best episodes from Series One.

The writing behind the episodes’ primary plots will be highly appreciated by anyone that appreciates a true mystery. There is another aspect of the writing that audiences will appreciate in the secondary plot that runs through Series One. That secondary plot involves the bond that forms between the young Endeavour Morse and his partner of sorts, Fred Thursday. The bond between the pair grows throughout the course of each episode. It grows to the point that Thursday becomes a surrogate father of sorts, considering what eventually becomes of Morse’s own father. This plays into the first series/season’s finale. There is in fact one point in which Thursday does something that makes him more of a father figure to Morse than ever before. It is a short moment. But it is also a very moving moment for any viewer. It’s one more element of the expert writing that makes Series One a wonderful introduction to what will hopefully be another long running series from itv.

The solid writing does so much to make Endeavour’s first series an impressive reintroduction to the world of Inspector Morse. Tied directly into the show’s writing is the general lack of sex and violence throughout the first series. This is a standard established throughout both Inspector Morse and Inspector Lewis. By comparison, the amount of sex and violence that permeates American crime dramas is stunning. Yes, the crime scenes sometimes can be a tiny bit unsettling. But that unsettled feeling of said crime scenes is extremely minimal at best again by comparison. And those people within the police department aren’t big, muscle bound men and women with….shall we say overt amounts of cleavage showing. Both men and women are dressed in full dress. The men wear suits. The women’s attire is just as classy. It’s a nice change from what viewers are exposed to on the Law & Orders and CSIs and others across American television. Keeping that in mind, it’s without a doubt, one more positive that audiences will appreciate from Endeavour: Series One.

The writing and general content included in Endeavour: Series One play very prominent roles in the show’s success. One would be remiss to ignore what is perhaps one of the most important factors of all: the cast’s acting. The acting of both Shaun Evans (who plays the young Inspector Morse) and Roger Allam (his mentor Fred Thursday) is just as solid as the writing itself. The pair has such incredible on-screen chemistry. Throughout each episode, the two work so well together, whether in investigating crimes or building their personal friendship. On another level, audiences will be just as appreciative of the acting on the part of Jack Laskey in the role of DS Peter Jakes. Jakes is wonderfully despicable opposite Evans as Morse’s antagonist. Jacks really makes audiences hate him. That is the sign of top notch acting. And along with Evans and Allam, his acting and theirs becomes the icing on the cake that is an excellent new crime drama from itv. It is an equally wonderful addition to PBS’ lineup for audiences that have gotten so accustomed to the high standard set by this show’s forerunners. It is available now on DVD and Blu-ray and can be ordered online direct from PBS’ online store at http://www.shoppbs.org/product/index.jsp?productId=20427326&cp=&sr=1&kw=endeavour+series+1&origkw=Endeavour+Series+1&parentPage=search. More information on this show and others from PBS’ Masterpiece Mystery programming is available online at http://www.facebook.com/masterpiecepbs and http://www.pbs.org/masterpiece.

It looks like the end is here for Detective Inspector Robert “Robbie” Lewis and his partner Detective Sergeant James Hathaway….or is it? If the final scenes of the third and final episode of Inspector Lewis: Series Six are any indication, it would seem that this show that debuted just over seven years ago has come to an end. Though, the rumor mill is buzzing that this may not be the last that audiences see of Inspector Lewis after all. If it is in fact the end for the fan favorite pair of detectives, Series Six is a fine send-off for this hit show.

Series Six is a fine send off for Inspector Lewis and his partner in these supposed final episodes. The show’s writers have crafted a trio of stories that are some of the finest that audiences have seen over the course of its seven-year run. This series takes Detective Inspector Lewis and his partner into the world of parapsychology in its opening episode, and then onto the very twisted trail of a drug smuggler before investigating the death of a man that was killed by someone with his own car shortly after being released from jail. The murder victim had himself been jailed for accidentally killing another person in a wreck. The three stories together offer just enough mystery to keep audiences fully engaged throughout this series’ four-plus hours. The most deeply engaging of the episodes included in this new set is the series’ second episode, “The Ramblin’ Boy.” This episode is a long, in-depth episode that starts with an unidentified body being found in a ditch. Through all of its twists and turns, it eventually leads to a plot by an associate of Lewis who is running a complex drug smuggling scheme. The story gets deeper and deeper as it progresses. But it’s not so deep that audiences will get lost in everything. Those audiences that allow themselves to be fully engaged in this episode will thrill in the way that the writers tie everything together. Those audiences that do so will see that this is just one example of how rich the writing in this series is.

The writing in “The Ramblin’ Boy” is just one example of what makes Inspector Lewis: Series Six so enjoyable. Audiences will be just as impressed as Inspector Lewis and Detective Sergeant Hathaway investigate the death of a man who claimed himself a clairvoyant. The pair is drawn into the world of the paranormal after two people are killed by a mysterious individual, and a third person’s life is at risk. The writing in this episode is just as solid as the series’ second episode. Again, it offers just enough twists and turns to keep viewers engaged through the entire ninety minutes. It’s not all that will keep viewers watching whether in this episode or either of the other two. Audiences also have expert acting on the part of Kevin Whatley and Laurence Fox.

The scripts of the episodes on Series Six are just as expert as any of those in previous installments of this hit itv/PBS crime drama. Solid scripts do plenty for any show. But they can only go so far without proper acting on the part of the cast. Thankfully for audiences, the acting on the part of Kevin Whately and Laurence Fox far exceeds expectations. Having played their roles as long as they have (Whately has played Lewis since the late 1980s in the former series, Inspector Morse) the pair has learned each other. Because of this, they gel better than ever on screen. One wonderful example of this is seeing Lewis’ slight insecurities at working with someone other than Hathaway. “The Ramblin’ Boy” shows a rare side of Lewis when his partner goes on vacation, and he is forced to work with someone else temporarily. It shows just how comfortable Lewis had become having one partner and how truly vulnerable he is. It’s little intricacies such as this that makes this allegedly final series so wonderful. Audiences finally see Lewis’ romance with Dr. Hobson (Clare Holman) revealed once and for all. The reaction on the part of Chief Superintendent Jean Innocent (Rebecca Front) is classic. It will leave any viewer, new or not, laughing. His embrace with Hobson is another one of those moments that shows a more human side of Lewis. Those moments really make Lewis so much more believable. And they exemplify once more Whatley’s skill in front of the camera. It’s just one more factor that makes this allegedly final series so enjoyable. Though, there is one more factor that makes this final series so much better than any American crime drama. That factor is something most audiences don’t take into account. It’s the show’s costume department.

American crime dramas are a dime a dozen. Just as common as the mass of crime procedurals on American television is their overt objectification of both male and female characters alike. The exact opposite is the case with both Series Six of Inspector Lewis and its previous series. The characters in this long-running series aren’t exactly “the beautiful people.” That’s probably a big part of the reason that it isn’t largely popular among young American audiences. The lack of overt sexuality in this latest series (and every series before) is one of the most subtle but important factors in the series’ success. It forces the writers to write a compelling story, rather than rely on sexuality to drive it. It’s such a welcome change. And along with everything else already noted, it makes this series one a wonderful jumping on point for new viewers, and equally wonderful for those who have seen this show through from its beginning. Inspector Lewis: Series Six is available now on DVD and Blu-ray. It can be ordered online direct from the PBS online store at http://www.shoppbs.org.